Peter Pilotto is known for his unexpected geometrical prints, but for Fall 2019, he stepped away from the bold lines and shapes he’s used to and presented a delicacy of satins, metallic pleated lamés, feathers and fringe, all in pastel colors with a slight transition into darker muted tones in the last closing looks. The pieces are fit for a 25-year-old or a 60-year-old – a dynamism that’s hard to achieve.
For 2019, Ricardo Tisci has made of Burberry a youth-infused novelty. Starting off his Fall/Winter 2019 runway show with a sport slash street crossover inspo, the opening looks were a racing leather jacket with a fur collar, a tennis player V-neck dress adorned with sparkly fringe, and an array of oversized patent puffer jackets in different lengths. It slowly (and gracefully) transitioned into a logo fest of trenchcoats and button-downs in different Burberry plaid variations – heritage and modernity in one.
Vivienne Westwood‘s Fall 2019 collection could be regarded as an artistic statement. Models wore painted faces in red, green, and gold, and some others wore paper crowns in different neon hues – Rose McGowan made a runway cameo sporting her own paper crown, reading “angel.” The clothes were eye candy, a sort of optical illusion – graphic, printed, and bizarre.
One aspect defines Christopher Kane‘s Fall 2019 collection: volume. It was used only sporadically, appearing on sleeves, the hems of dresses, on shoulder pads, and coats, each made in a different technique. Playing with lace, vinyl, and chains, Kane’s clothes were inspired by “fetish worlds” and implemented them into the closets of modern women by making the fetish details handsome and classy.
Simone Rocha‘s disposition to make women feel royal can be spotted in her chronical, cohesive aesthetic. Fall 2019 was made for a modest woman when it comes to skin, but loud with color. This collection was an array of dresses and trenchcoats, sometimes in pairs and sometimes standing on their own. Rocha played with the layering of crop tops over cocktail and black-attire dresses; vinyl, organza and sequin were some of the pop up detailing that stirred this collection towards a modern territory and away from a 15th-century modesty.
Layers on layers reminiscent of clouds, softly flouncing on heavenly bodies. That’s what JW Anderson evoked in our minds with his newest fall collection, and truthfully, he was triumphant; it came across exactly as he intended: “The idea of a woman walking on clouds—this idea of fantasy and imagination in fashion,” he said. “I mean, that’s why we do it.” His Fall 2019 collection was a mash-up of perfectly tailored layers – from afar it looks like a deconstructed, flouncy, clash of fabrics and textures (a good clash), but if you come closer, you can see the affinity for structure and tailoring that drives his exactitude and ease.
Richard Quinn‘s inventiveness granted him a royal front row guest – the one and only Queen of England. For Fall 2019, Quinn submerged himself into a Garden of Eden (or was it Palace of Versailles?) from head to toe, quite literally. There were four consecutive looks all in monochrome floral print, and by “monochrome” and “head to toe”, we also mean face and feet. Models wore floral masks and tights that coordinated with their “secret garden” looks. Working in a juxtaposed, duality of aesthetics, Quinn contrasted his signature motif flower prints against black shiny latex – femininity and hardness intertwined in a symphonious harmony. Quinn’s girl, we learned, will never go unnoticed.